Volume 03 Issue 12-2023
48
International Journal Of History And Political Sciences
(ISSN
–
2771-2222)
VOLUME
03
ISSUE
12
P
AGES
:
48-53
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
713
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
In this article, we can learn how the ancient culture of Bukhara imagined the outside world and what kind of relations
it had with which countries. With the help of the collected data, we will get more information about the ancient culture
of Bukhara.
KEYWORDS
Murals, Varakhsha, plaster, jugs, masks, frames, clay decorations, red color, geometric shapes, embossed patterns,
mineral paints, cultural layer, floral decorations, clay plasters, Hellenistic culture.
INTRODUCTION
The wall was found in large areas of the water in large
areas of embedded ganj decorations in fragments.
From the excavations carried out in Varakhsha, it is
known that all parts of the ganj ornaments were found
in the southern part, where they filled the rooms and
placed the veranda1. The production of the ganj
ornaments is simple. It consisted of applying a layer or
more of plaster and molding and testing it with the
same methods that have remained for more than a
decade.
The unique feature of Varakhsha Ganj decoration is
that every little thing and every detail is meticulously
decorated here. It even depicts important parts like
human faces. Eyes are often depicted as simple
almond-shaped bulges without additional details 3
.Hairstyles, beards, clothes, ornaments are depicted.
The entire surface of the Ganges is left white. Traces of
staining, and yet only two or three pieces show
isolated small distinct local spots (such as a red-painted
bird's eye). Here, the paint has kept its brightness and
freshness. Flat decorated surfaces served as
backgrounds for images of plants and animals, people
and mythical creatures.
The decoration was completed with sticks, shoulder
blades, cornices, columns, belts, parts of which were
found in large quantities1. The rich ganj decor is the
result of the work of mature and experienced artists.
The craftsmen who decorated the palace used the
Research Article
VARAKHSHA MURAL GANCH AND CLAY PAINTINGS
Submission Date:
December 10, 2023,
Accepted Date:
December 15, 2023,
Published Date:
December 20, 2023
Crossref doi:
https://doi.org/10.37547/ijhps/Volume03Issue12-09
Bobohusenov Akmal Ashurovich
History Teacher At The "History And Philology" Department Of The Asia International University, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijhps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 12-2023
49
International Journal Of History And Political Sciences
(ISSN
–
2771-2222)
VOLUME
03
ISSUE
12
P
AGES
:
48-53
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
713
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
properties of this material extensively and skillfully, it
was easy to work with and allowed to create
impressive decoration of the building with the help of
simple technical tools. In the description of the
excavation work of the palace building, it was noted
that the number of pieces of ganj ornaments found in
the narrow rooms of the South Enfilade reached
several thousand. After deliberation, it was concluded
that this decoration should adorn the great
antechamber at the top of the South Enfilade.
The patterns of decoration that fill the flat surfaces of
the walls are very diverse. The simplest combination of
squares or rhombuses is sometimes complicated by
the introduction of circles, in the middle of the squares
or by placing them in a frame, as is familiar from wall
decoration. A four-petalled flower sometimes appears
at the intersection of the chains, enlivening the simple
design of the ornament. Designs with pure geometric
ornamentation include rows of triangles complicated
by ribbed relief, zigzag borders, and bark decoration of
overlapping squares reminiscent of a slate roof but
with additional small squares at the corners. If we turn
to the description of complex decorative patterns,
With all the richness and diversity of Varakhsha's ganj
decor, there is nothing like the later complex
structures that dominated the architectural decoration
known to us since the 10th century. A number of
decorative patterns are based on a simple square grid
and represent a further development of geometric
forms, a stage in the transition to more complex
combinations of geometric plant patterns. Such
ornaments include a variant of one of the oldest
motifs. The motif of square squares with four rosettes
arranged diagonally and plainly is wonderful. The
decoration becomes more complex when the sides of
the adjacent squares become petals, which in more
advanced versions form a star-shaped filling of the
plane with additional diagonal petals. The star pattern
gives the decoration of eight-petalled rosettes,
interlaced with elongated tips of leaves, between
which are placed six-, five- or four-petalled cups.
According to a large number of fragments, this form
was widely used, especially in wall decorations. Some
large sculptural composition represents the unfolding
scenic background. |This is a "heart" shape, which is
used in simple forms (a chain of "hearts" placed
vertically, horizontally) and in more complex versions,
where they are complicated by additional petals. There
are two variations of the patterns that form
interlocking squares in the corners. According to the
first of them, large flower cups with six leaves
appeared.
Very common and well-known in various types of
ancient Eastern and ancient Mediterranean art, the
origin of this decoration goes back to ancient times.
The Varakhsha variant of this form may be related to
Hellenistic art, but it also has its own characteristics2. A
less "Hellenistic" version of the same pattern is
presented in a narrow border, where intricate
palmettes and some billet cone-like figures alternate.
Border ornaments consist of closely spaced circular
shapes, which do not repeat each other, but have a
large number of different variants, differing in core,
number of petals, shape, etc.
CONCLUSION
These patterns clearly show the complexity of the
development of Varakhsha ornamental art, which was
formed during the Arab conquest. If the pattern of
acanthus leaves, which originated in the Ancient East
and was wonderfully developed in ancient Greece, has
a clear echo of Hellenistic art, then the ornament
considered above can be taken from the decorative art
of the Ancient East. In any case, both these motifs are
Volume 03 Issue 12-2023
50
International Journal Of History And Political Sciences
(ISSN
–
2771-2222)
VOLUME
03
ISSUE
12
P
AGES
:
48-53
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
713
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
presented in a revised form in Varakhsha's ganj
carving, organically combined into a unique style
created by local artisans. Such mural paintings serve as
an important source for the restoration and study of
the ancient history of Bukhara.
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